Search results for ""Dalkey Archive Press""

Edwin Mortens is almost blind, but has good hearing; his wife Erna is hard of hearing, but has excellent eyes. Paralyzed from the waist down, Edwin sits locked in his bathroom all day, every day, trying to liberate his mind from his body. The experiment is going relatively well: nearly all his bodily functions have ceased, his limbs are in a state of decay, and his digestive system is in the process of breaking down. “This body,” he says, “is a sewer.” To pass the time, Edwin dedicates his days to chewing gum and screaming at his wife, on whom he is, nonetheless, entirely dependent; while Erna’s life, despite Edwin’s constant abuse, revolves around her hideous husband. Edwin and Erna live in a state of perfect equilibrium—fueled by habit, cruelty, humiliation, and quite possibly love—until a young maintenance man is called to replace a lightbulb in Edwin’s bathroom, and the “Siamese twins” find themselves embroiled in a new and vicious struggle for power.

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Part detective novel, part investigation into the nature of knowledge, set in the mountains of Morocco when the French still controlled North Africa.

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David Bellos, Introduction: The Book of Bachelors by Philip Terry/Philip Terry, The Book of Bachelors/Philip Terry, Afterword

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Boswell is Stanley Elkin's first and funniest novel: the comic odyssey of a twentieth-century groupie who collects celebrities as his insurance policy against death. James Boswell--strong man, professional wrestler (his most heroic match is with the Angel of Death)-- is a con man, a gate crasher, and a moocher of epic talent. He is also the hero of one of the most original novel in years ( Oakland Tribune)--a man on the make for all the great men of his time--his logic being that if you can't be a lion, know a pride of them. Can he cheat his way out of mortality?

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A moving contribution to the tradition of the metaphysical novel as exemplified by Dostoyevsky and Bernanos, and likewise a worthy counterpart to the vibrant and polyphonic work of fellow Iberians Camilo Jos? Cela and Juan Goytisolo, "The Sea" is a cornerstone of postwar Catalan literature. Set in a tubercular sanatorium in Mallorca after the Spanish Civil War, it tells the story of three children sharing a gruesome secret who are brought together again by chance and illness -- two patients and one nurse. A love triangle, a story of retribution, and an exploration of evil, "The Sea" is "a profound and radical descent into the depths of the human soul." (Gerard de Cortanze)

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As one of the characters in Assassins says, "Tolstoy was right, you can't beat the Gods. It's the small things - the warp and woof - that make up the pattern. And how much influence do we have over the small? Now that's a theme for a modern writer." And Nicholas Mosley is this writer. Part political thriller and part love story, Assassins explores the "small things" that give shape and meaning to the "big events."

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Childhood play, scarlet fever, a first kiss, befriending a Nazi spy--the narrative of "Past Habitual" roams through experiences both commonplace and formative, all under the uneasy canopy of wartime Ireland. Moving with ease between the voices of a young child, a German immigrant, an I.R.A member, and colloquial chatter, MacLochlainn forms a web of interactions that expose a century's tensions. A combination of traditional prose, poetry, monologue, and music, "Past Habitual" is an engaging and fascinating depiction of an Ireland struggling through the effects of war--both distant and on her doorstep.

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A postmodern fairy tale might best describe Jacques Roubaud’s delightful book The Princess Hoppy or, The Tale of Labrador. How else to describe a novel that reads like an Arthurian romance as rewritten by Lewis Carroll, with enough math puzzles to keep the game reader busy with a calculator for months? The tale concerns a princess, her faithful dog (who happens to be a wiz at math), four royal uncles always plotting, four royal aunts always potting, a lovesick hedgehog named Bartleby, two camels named North Dakota and South Dakota, four ducks who double as boats (thus called doats), and an amphibious blue whale named Barbara—to name only a few. (Even the Sun has a speaking role.) There are dramatic abductions, daring rescues, passages in hitherto untranscribed languages (Dog, Grasshopper, Duck), tales of unrequited love, allegorical interludes, poems, a playlet, and much more. (But no suspenders, the author promises.) Finally, there are 79 questions for readers of the novel, to see how closely they’ve been paying attention—for ultimately The Princess Hoppy is a giddy inquiry into how we read literary works. It is both an old-fashioned tale and an ultramodern hypertext, the oldest and the latest thing in fiction.

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Which came first, words or things? Are your words yours, or someone else's? And what do the Crusades have to do with it? And what do ants have to do with it? Jean Ricardou has been given something of a bad rap: he's widely seen as a difficult writer, or worse yet, as an intensely serious one. However, he easily sheds this weighty reputation in his hilariously playful new novel about the notoriously complex world of literary theory. Supplying his readers with everything they need to know to navigate this world, Ricardou uses his own irreverent interpretation of deconstructive theory to ask questions about language and history, theory and life, and all the intriguing connections between them.

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From the author of Nightwood, Djuna Barnes has written a book that is all that she was, and must still be vulgar, beautiful, defiant, witty, poetic, and a little mad.Told as through a kaleidoscope, the chronicle of the Ryder family is a bawdy tale of eccentricity and anarchy; through sparkling detours and pastiche, cult author Djuna Barnes spins an audacious, intricate story of sexuality, power, and praxis.Ryder, like its namesake, Wendell Ryder, is many things—lyric, prose, fable, illustration; protagonist, bastard, bohemian, polygamist. Born in the 1800s to infamous nonconformist Sophia Grieve Ryder, Wendell’s search for identity takes him from Connecticut to England to multifarious digressions on morality, tradition, and gender. Censored upon its first release in 1928, Ryder’s portrayal of sexuality remains revolutionary despite the passing of time and the expurgations in the text, preserved by Barnes in protest of the war “blindly raged against the written word.” The weight of Wendell’s story endures despite this censorship, as his drive to assume the masculine roles of patriarch and protector comes at the sacrifice of the women around him.A vanguard modernist, Djuna Barnes has been called the patron literary saint of Bohemia, and her second novel, Ryder, evinces her cutting wit and originality. The nonlinear structure and polyphonic narration pull the reader into Barnes’ harlequin world like a riptide, echoing the melodic cascade of James Joyce’s Ulysses and the avant-garde feminism of Dorothy Richardson. The novel is a rhapsodic saga that could have come only from Barnes’ pen—and politics—as impactful today upon at its first pressing, a document of sexual revolution and censorship.

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António Lobo Antunes’s twenty-fifth novel, Commission of Tears (2011, Comissão das Lágrimas) is set during the Angolan Civil War (1975-2002). Angola attained official independence on November 11, 1975 and, while the stage was set for transition, a combination of ethnic tensions and international pressures rendered Angola’s hard-won victory problematic. As with many post-colonial states, Angola was left with both economic and social difficulties which translated into a power struggle between the three predominant liberation movements. The People’s Movement for the Liberation of Angola (MPLA), formed in December of 1956 as an offshoot of the Angolan Communist Party, had as its support base the Ambundu people and was largely supported by other African countries, Cuba, and the Soviet Union.In this novel, Lobo Antunes delves into this traumatic period of Angola's history through the fragmented memories and dreams of a broken woman. The author drew from the story of the commander of the female battalion MPLA (Popular movement for the liberation of Angola) who was tortured and killed following the state coup of May 1977. It is said that while they tortured her she did not stop singing. This is the story of Cristina, admitted in to a psychiatric clinic in Lisbon. In her torrent of memories, dialogues and traumatic episodes, Cristina remembers her early childhood in Africa, at the time when everything inside her head was intertwined with her father´s voice, who was a former Black priest and became one of the torturers of the “Commission of Tears.” Cristina’s white mother, a cabaret dancer imported from Lisbon to entertain Portuguese farmers in Angola, marries the Black ex-priest because she finds herself pregnant with Cristina by her the man who exploits her, the cabaret manager. The long, twisting narrative weaves together the three voices of daughter, father, and mother as they recall the terrors of their life in Angola, and their own suffering. Their personal tragedies, scarred by racism and abuse, mirror those of the country that is being torn asunder around them.

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Selected by the Modern Library as one of the 100 best nonfiction books of all time A book about romantic love, Eros the Bittersweet is Anne Carson's exploration of the concept of "eros" in both classical philosophy and literature. Beginning with, "It was Sappho who first called eros 'bittersweet.' No one who has been in love disputes her," Carson examines her subject from numerous points of view, creating a lyrical meditation in the tradition of William Carlos Williams's Spring and All and William H. Gass's On Being Blue. Epigrammatic, witty, ironic, and endlessly entertaining, Eros is an utterly original book.

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Finnley Wren: His Notions and Opinions, Together with a Haphazard History of His Career and Amours in These Moody Years, as Well as Sundry Rhymes, Fables, Diatribes and Literary Misdemeanors stands as one of the greatest American responses to the thrown gauntlet that is Tristram Shandy. An innovative, uproarious sentimental education, this novel marries the mordant satire of Wylie's Generation of Vipers to what might in other hands have been an ordinary story of frustrated ambition and frustrated love, turning forty-eight hours' worth of drunken conversation into an emotional and typographical explosion.

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On a hot, insomniac night at the Hotel Metropol, the novelist Carlos Fuentes steps onto his balcony only to find another man on the balcony next door. The other man asks for news of the social strife turning into revolution in the unnamed city below them. He reveals himself as the 19th-century philosopher Friedrich Nietzsche, permitted to revisit earth once a year for 24 hours based on his theory of eternal return. With tenderness and gallows humor, the novelist and the philosopher unflinchingly tell the story of the beginning of the revolution, its triumph, fanaticism, terror, and retrenchment: a story of love, friendship, family, commitment, passion, corruption, betrayal, violence, and hope.

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When John Barth’s Lost in the Funhouse appeared in 1968, American fiction was turned on its head. Barth’s writing was not a response to the realistic fiction that characterized American literature at the time; it beckoned back to the founders of the novel: Cervantes, Rabelais, and Sterne, echoing their playfulness and reflecting the freedom inherent in the writing of fiction. This collection of Barth’s short fiction is a landmark event, bringing all of his previous collections together in one volume for the first time. Its occasion helps readers assess a remarkable lifetime’s work and represents an important chapter in the history of American literature. Dalkey Archive will reissue a number of Barth’s novels over the next few years, preserving his work for generations to come.

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The first novel in Arno Camenisch's celebrated "alpine" trilogy is set during a single summer. The four main (unnamed) characters are a dairyman, his farmhand, a cowherd, and a swineherd who all live and work in close proximity--but this is no "Heidi." Theirs is an existence marked by dangerous work, solitude, cruelty, alcoholism, and sheer stubbornness; but the author's handling of these situations and lives is characterized at all times by affection, surreal humor, and a brilliant ear for the sounds of the setting.

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A phantasmagorical mixture of religious mysticism and eroticism, bound up with the mythic origins of civilization, and taking in everything from shamanic art to Bach's "Art of the Fugue."

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The Poor (Os Pobres, 1906), by Portuguese author Raul Brandão, is a powerful tribute to the underclasses. Innovative thematically and stylistically, the novel consists of loosely connected vignettes on two narrative levels: the lives of prostitutes, where the inexorable need for love is transformed into a means for survival; and the life of Gebo, a seemingly slovenly man, with neither sentiment nor intelligence. Instead, as he searches tirelessly for work—and loves his daughter and wife with tenderness and constancy—he is revealed as a victim of the economic situation in Portugal. With prescience, Brandão emphasizes the interdependence between nature and humankind by intertwining descriptions of physical and human surroundings, while his depictions of desperation, sorrow and violence prefigure the works of contemporary Portuguese writers.

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Perversely, but perhaps appropriately, Aidan Higgins--one of the few contemporary writers worthy of comparison with Beckett and Joyce, now celebrating his 85th year--has chosen to wait until his sight has nearly left him to assemble this collection of visual treats. A commonplace book of anecdotes and cartoons--the latter never before published, though familiar to all of Higgins's correspondents from the margins of his letters and postcards--"Blind Man's Bluff" is a compendium of tart and comic insights into sight itself, as well as other varied indignities: personal, historical, and literary.

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"The Attic" is Danilo Kiš's first novel. Written in 1960, published in 1962, and set in contemporary Belgrade, it explores the relationship of a young man, known only as Orpheus, to the art of writing; it also tracks his relationship with a colorful cast of characters with nicknames such as Eurydice, Mary Magdalene, Tam-Tam, and Billy Wise Ass. Rich with references to music, painting, philosophy, and gastronomy, this bohemian "Bildungsroman" is a laboratory of technique and style for the young Kiš--at once a depiction of life in literary Belgrade, a register of stylistic devices and themes that would recur throughout Kiš's oeuvre, and an account of one young man's quest to find a way to balance his life, his loves, and his art.

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"The Splendor of Portugal"'s four narrators are members of a once well-to-do family whose plantation was lost in the Angolan War of Independence; the matriarch of this unhappiest of clans and her three adult children speak in a nightmarish, remorseless gush to give us the details of their grotesque family life. Like a character out of Faulkner's decayed south, the mother clings to the hope that her children will come back, save her from destitution, and restore the family's imagined former glory. The children, for their part, haven't seen each other in years, and in their isolation are tormented by feverish memories of Angola. The vitriol and self-hatred of the characters know no bounds, for they are at once victims and culprits, guilty of atrocities committed in the name of colonialism as well as the cruel humiliations and betrayals of their own kin. Antunes again proves that he is the foremost stylist of his generation, a fearless investigator into the worst excesses of the human animal.

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In this widely acclaimed translation, Dominic DiBernardi expertly captures C?line's trademark style of prose which has served as inspiration to such American writers as Philip Roth, Kurt Vonnegut, William Burroughs, Jack Kerouac, Charles Bukowski, Norman Mailer and Joseph Heller.

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The year is 1959, one of the darkest periods of Romania’s communist regime. Political prisoner Bruno Matei, a puppeteer of Italian ancestry, has been released from jail a broken man, suffering from amnesia. An uneasy relationship forms between `Matei Brunul’ and Bojin, the secret policeman who keeps him under constant surveillance. Gradually, the secret police will try to remould Matei’s mind by rewriting his past, turning the puppeteer into a puppet of the new totalitarian order. In parallel, a harrowing second narrative reveals Matei’s prison experiences: the story of an innocent man physically and mentally crushed by the totalitarian system, which explodes the manipulative fictions of the secret police one by one. Matei Brunul was the first Romanian novel to explore the carceral world of the former regime, but it is also a subtle meditation on Heinrich von Kleist’s On the Marionette Theatre and the ways in which a totalitarian state and ultimately fiction itself create and manipulate puppets.

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At a New Year’s Eve party, a dead woman turns up alive again, after passing through a mysterious post-mortem way station located on another planet, and much to the disbelief of her old flame, who interprets the night’s events with the help of his reading of Kafka. A priest is sent by the Vatican to investigate a strange development in the American cattle market: a breed of cows identical in all physical respects to human women. A man leaves his wife and flees to the north of Spain, where he meets a sickly woman in an empty café, introduces himself as Jorge Walser, and makes plans with her to disappear. Aboard a trans-atlantic cruise, a door-to-door vacuum salesman bumps into a woman who appears to be Natassja Kinski, and they swap tall tales as the ship floats them asymptotically toward world’s end. Christ turns out to be a girl who fronts a punk band. The words of such writers as Beckett, Walser, Chekhov, Gombrowicz, Bolaño, Kafka, Blanchot, and Borges are characters in themselves. The Irish Sea is a novel masquerading as a book of short stories. A meditation on the paradox of nostalgia, which always seems to pine for what never was. A fevered search for order through writing, of truth through literature, of the nodal point where life and literature intersect. A strange personal gallery curated by a razor-sharp reader and his other, unknown self.

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The unnamed narrator of Francis Bacon’s Armchair has just been released from an extended stay at a psychiatric hospital and now has only one objective: to shut himself away in his apartment and contemplate the best way to restart his life. But his obsession with Cathie, a young woman he met during his convalescence, drives him out of his bedroom one night in search of a telephone—which leads him two floors below into the apartment of his morbidly obese neighbor, Sauvage. Sauvage is a translator overwhelmed by his current project, The Dictionary of Rare and Incurable Diseases, and by the inherent difficulties of his profession. The narrator begins paying regular visits to his mysterious neighbor, and the two isolated men develop a bizarre relationship dominated by fear, jealousy, and mutual fascination. A hypnotic and philosophically dense novel, Francis Bacon’s Armchair deftly weaves between explorations of loneliness, language, and obsession.

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From Scarsdale is an evocative and lyrical memoir of a haunted childhood in Scarsdale, New York.With a cancer diagnosis in his early forties, the author is compelled to revisit and resolve the mystery of his family’s sadness. The fourth of six children in an Irish-American household distinctly out-of-place in this affluent suburb of New York City, O’Brien grows up in a claustrophobic milieu of secrecy, lies, and mental illness. The turning point in his maturation is an older brother’s attempted suicide — an event he witnesses firsthand. From Scarsdale traces with sensitivity the complex histories and dynamics that lead to this trauma, as O’Brien investigates the psychologies of his parents, themselves the survivors of painful childhoods in Scarsdale. Then, simultaneously disturbed and catalyzed by his brother’s depression, and his own developing obsessive-compulsive disorder, the adolescent O’Brien discovers literature and the theatre as an escape, though it will take years for an actual liberation to occur. In many ways this memoir is that liberation, as his ambition here has been to tell “the story of who I am and where I’m from, with honesty, insight, and something like forgiveness. To try to leave the old place behind.” With the specificity and aching affection of William Maxwell’s Ancestors, and the impressionistic, mosaic-like structure of Michael Ondaatje’s Running in the Family, this book’s subject is ultimately, like all memoir, the solace and the conundrum of memory. From Scarsdale is a rare book, uniquely told, and a poignant example of the redemptive power of a true story.

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Cigarettes is a novel about the rich and powerful, tracing their complicated relationships from the 1930s to the 1960s, from New York City to Upper New York State. Though nothing is as simple as it might appear to be, we could describe this as a story about Allen, who is married to Maud but having an affair with Elizabeth, who lives with Maud. Or say it is a story about fraud in the art world, horse racing, and sexual intrigues. Or, as one critic did, compare it to a Jane Austen creation, or to an Aldous Huxley novel—and be right and wrong on both counts.What one can emphatically say is that Cigarettes is a brilliant display of Harry Mathews's ingenuity and deadly playfulness.

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Pierrot Mon Ami, considered by many to be one of Raymond Queneau’s finest achievements, is a quirky coming-of-age novel concerning a young man’s initiation into a world filled with deceit, fraud, and manipulation. From his short-lived job at a Paris amusement park where he helps to raise women’s skirts to the delight of an unruly audience, to his frustrated and unsuccessful love of Yvonne, to his failed assignment to care for the tomb of the shadowy Prince Luigi of Poldevia, Pierrot stumbles about, nearly immune to the effects of duplicity.This “innocent” implies how his story, at almost every turn, undermines, upsets, and plays upon our expectations, leaving us with more questions than answers, and doing so in a gloriously skewed style (admirably re-created by Barbara Wright, Queneau’s principle translator).

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Razor-sharp social commentary, Jane Austen for contemporary feminists unafraid to confront a dark worldIn her latest translated volume of collected short fiction, Rumena Bužarovska delivers more of what established her as “one of the most interesting writers working in Europe today.” Already a bestseller across her native Macedonia, I’m Not Going Anywhere is an unsentimental and hyperrealist collection in which Macedonians leave their country of origin to escape bleakness—only to find, in other locales, new kinds of desolation in theses dark, biting, and utterly absorbing stories.

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In a small village on the southern coast of Crete, the narrator meets a young man who tells him a history of his journey which took him from Prague as far as to the Libyan sea. It is a voyage to uncover mysterious deaths of two brothers: one was murdered during the ballet performance, the body of the second one was found by Turkish fishermen at the Asia Minor shores. On the move, the amateur detective is accompanied by one of the brothers´ girlfriend. They have to work out a lot of traces, clues and rebuses – seemingly meaningless clusters of letters in the picture of a Hungarian painter, fragments of words created in the sea by bodies of phosphorescing worms, puzzling shapes of jelly sweets found in a small shop in Croatia or the plot of an American sci-fi thriller movie, which the protagonists watch in the cinema in Rome suburb. Such leads send the heroes from town to town, the plot takes part on night trains and many places in Europe - in Bratislava, Budapest, Lublan, on the islands of Mykon and Crete… With the search for the murderer of both the brothers many other stories are interconnected, and they take the readers to even more distant places of the Earth: Moscow, Boston, Mexico City…

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From the man Arturo Pérez-Reverte has called “the most talented young Russian author” comes this extraordinary family saga, a journey into the depths of the human soul.The Round-dance of Water is a detailed portrait of three generations of a large family, but in this story there is no division into primary and secondary characters: each individual fate carries its weight and runs into the bloody river of the twentieth century. The novel drifts between years, tones, and styles, and the range of its influences is overwhelming, ranging from Rudyard Kipling to Andrei Platonov and Daniil Kharms, from gangster movies to Japanese anime.

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"How does a novel accrue value? How do certain new and unknown authors and their works make their way from obscurity into the pantheon of the greats, or—at least—the firmament of the stars?" Minuit examines the role played by French publishing house Editions de Minuit in altering the conception of literary France, not once but twice. The history of Editions de Minuit is an integral part of the history of the literary field; in Minuit, Spalding's work captures many of the cultural dimensions of literary production and dissemination at the height of France’s post-war intellectual and literary effervescence, and again, in the more recent period, when Minuit became the vehicle for French literature’s ‘postmodern’ turn.

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Éilis from the Flats is a hard-nosed but tender chronicle of flawed characters, bad choices, and contemporary Dublin life. This Irish novel of scandal and substance abuse follows the exploits of Tommy Baker, a veteran journalist; James Tierney, a researcher at Empire Television; Jimmy Heffernan, a reformed north-side Dublin gangster and local hero, and Éilis Devanney, who lives in the Star of the Sea flats, in Jimmy’s neighborhood. When Éilis writes a document for Tommy and James, revealing that Jimmy is in no way reformed, there is no going back. The truth will out.

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When Kjersti A. Skomsvold was seventeen years old and about to start engineering studies at college, she found herself almost unable to move. “Laid out like a relic” in a nursing home, she listens to an old woman dying, watches her boyfriend drift away, and makes compendious lists of her worries (that she will have to go speed-dating in a wheelchair, that she will be afraid and in pain for the rest of her life). She also begins to compose a novel on Post-it notes that she sticks on the wall above her bed.

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In his final novel, Rainbow People, Nicholas Mosley offers us the distinctly twenty-firstcentury story of a holy family. A man, a woman, and a child walk together along the coast of the Mediterranean Sea, near the border between Greece and Macedonia. They watch as a film is made about the refugee crisis on the beach. While the mother and father, joined by the filmmaker, contemplate the meaning of the crisis, the limited powers of art, the greater powers of fear and faith, the child explores, plays, and constantly transforms before their eyes. Months later, the family travels from their home in England to Calais, France, where an enormous refugee camp called “the Jungle” has sprung up. Here, in this unlikely place, the child shows the adults a graceful way to face the future. Mosley’s Rainbow People is a masterful, powerful book about borders, politics, and hope.

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Life of a Bishop’s Assistant is a “rewritten” biography of the 18th century historical figure, Gavriil Dobrinin. The son of a priest, he became an assistant to a bishop before being fortunate to rise all the way to gubernia procurator. Despite the obscurity of Dobrinin, it is Shklovsky’s narration of his story that takes center stage. Like Zoo, or Letters Not About Love, Life of a Bishop’s Assistant is a notable example of experimentation with narrative form in the early twentieth century by one of its leading theorists.

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Saga of Brutes draws together three confronting and darkly stories: “Between Dog Fights and Pig Slaughter,” “The Dirty Work of Others,” and “carbo animalis,” published in one volume for the first time. Ana Paula Maia’s no-holds-barred narrative pulls few punches, describing the shocking reality of the lives of the invisible workingmen who, like Atlas, are forced to carry society’s burdens. These heroes of vile circumstance—coal miners, firemen, garbage collectors, crematorium workers—are the soot-covered supermen who risk their lives performing difficult and dangerous work for others. But in the end, they, too, amount to nothing but carbo animalis—notwithstanding the impure relation of coal to diamonds. Despite their straightforwardness, Ana Paula Maia’s stories are filled with great insight and compassion for the lives of the men who live on the edge of a society built with their own sweat.

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Lines from a Canvas offers the public one of the best kept secrets in the world of poetry for years, the work of Jacob Miller. His poems uniquely traverse the cultural territory from Homer to the Grateful Dead, taking the reader from ancient Greece and Rome to the Holocaust to the Cold War to Vietnam to 9/11. In short, the expansive canvas of his content presents a compelling spectrum mixing classical and modern brush strokes, all while exploring experiences of love and loss, isolation and separation, as well as mortality. Consistent with his content, though perhaps of even greater importance, the crowning achievement shown in this collection is Jacob Miller’s new poetic technique, which delivers the reader to an expertly constructed and long-needed bridge between classical traditions (such as rhyme and meter, or even hidden slant rhymes or assonance connections), and imagistic free-verse. Additionally, this collection contains the poet’s free-verse libretto to the modern opera Manhattan in Charcoal, (recently released on CD). The title poem, Lines from a Canvas, offers the point of view of a canvas, not the painter, and this launches the operative conceit in this collection: each poem explores the perspective of the canvas of life and death, more than the poet himself. Each poem truly brings something new to the page.

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Svetislav Basara’s short fiction plays wild games with time and space while nonetheless keeping one foot grounded at all times in the real-life concerns of a young writer during the late communist and postcommunist eras in the former Yugoslavia. Dealing with civil war and other matters of life and death, Basara’s stories remain stubbornly eccentric, retaining every quirk, kink, and convolution made famous in his celebrated English-language debut novel, Chinese Letter.

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The narrator of this novel is Ballerina, a fifteen-year-old with the cognitive faculties of a child, and each of its fifteen chapters begins with her first wetting her bed and thereby greeting a new day. Drawing comparison to William Faulkner in its expressionistic depiction of Ballerina's interior world, this is a classic of contemporary Slovenian literature: a hugely popular exploration of a character whose world is so divorced from what we think of as reality.

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Nina, a drifter from southern Spain comes to London in search of experience, only to find that the strangest of stories is hiding in her father's loft in Almer?a...A playfully concocted, fast-paced novel committed to the irresistible pleasure of reading, both a celebration and a critique of our relationship to objects (from fetishes, to curios, to commodities, to objectum sexuality, to our becoming cyborgs through our addiction to technology), "Philosophical Toys" travels through different times, countries and experiences as chance leads Nina to encounter time and again the enigmatic nature of things, which end up transforming her into that most rare of species: a female philosopher.Witty and elegiac, "Philosophical Toys" takes the reader on a tour of fetishism, late capitalist culture, Bu?uels films, psychoanalysis, Alzheimer's disease, as well as the avatars of belonging to two cultures, an experience increasingly shared by a myriad of expatriates.

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A brokenhearted man leaves behind his familiar Europe to find himself in a desert land equal parts dull and dreamlike, torn between his desire to lose himself in this new country or hide away with the pampered expatriates who reside in a green zone known as the Ring.

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In ten of her best essay-stories, Giedra Radvilaviciute travels between the ridiculous and the sublime, the everyday and the extraordinary. In the place of plot, which the author claims to have had "shot and buried with the proper honors," the reader finds a dense, subtly interwoven structure of memory and reality, banalities and fantasy, all served up with a good dollop of absurdity and humor. We travel from the old town of Vilnius to Chicago's Brighton Park neighborhood, from the seaside to a local delicatessen, all in a narrative collage as exquisitely detailed as a bouquet of flowers. As in all of her work, Radvilaviciute plays with the genres of fiction and nonfiction, essay and short story, leading the experiences of life to be "unrecognizably transformed, like the flour, eggs, nuts, and apples in a cake."

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Spanning fifty years, but with a particular emphasis on post-independence fiction, this collection features a diverse range of styles and voices, offering a window onto a vibrant literary scene that has been largely inaccessible to the English-language reader until now. With stories addressing subjects as diverse as blood feuds, betrayal, sex, drugs, and Sergio Leone, it promises to challenge any existing preconceptions the reader might hold, and make available a rich and varied literary tradition unjustly overshadowed by the other ex-Soviet republics, until now.

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New work from the acclaimed author of "The Crab Nebula" and "Palafox."

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Stuart Byrne is a young, beautiful, single businessman who finds his perfect life sabotaged by a growing awareness of his own superficiality. Nauseated by his own helplessness, struck by a creeping lethargy, Stuart tumbles through a tumultuous week of excess, promiscuity, deception, cowardice, and regret, and in the process manages to trade his slick perfection for a fantastic, and darkly hilarious, catastrophe. A deadpan comedy about the rather unfunny void in the center of many modern lives, "Sleepwalker" explores how our trying to fill that void can be just as destructive as ignoring it, and how the world will always let the beautiful get away with murder.

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Half philosopher and half clown-prince, Gert Jonke is Austria s comic gift to contemporary fiction.

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A composer who has already given up composing - because of his inability to notate the music of the spheres - becomes increasingly fixated on capturing a mysterious, eerie, distant sound, which he soon equates with all the things he desires most: the perfect woman, the perfect city, the perfect work of art. Obsessed with his impossible quest, the man breaks out of the asylum and begins a series of comic, dreamlike, and ultimately haunting adventures as he tries to locate the source of the sound that consumes him... and instead finds the root cause of all his failures.

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